Lisa Jugert, an artist with a focus on photography, has lived and worked in Berlin for the last two years. A graduate of the Städelschule Frankfurt am Main, Jugert’s photographs cause the viewer to question the difference between what’s real and unreal, historical fact or simply fictional stories about the past.
Before coming to Berlin in 2008, she participated in The Rockaway Armada, a U.S.-based art collaboration where a group of individuals sailed ships made from found objects down the Mississippi River. Along the way, they performed exhibitions and performances for the local residents of the Mid-West towns through which they passed. Most recently, Jugert curated a performance evening (The Automatic Theatre) at .HBC, is working as an assistant for Olafur Eliasson, and is preparing for an upcoming dual-site group show at Galerie September and Galerie Barbara Thumm – Project Space, “Schaulager”. This exhibition will also spotlight the publication of her first solo catalogue (published by Goldrausch/argobooks).
Artist Statement:
“In my work I like to reflect on the relationship between image and experience, I am interested in revisiting the link between visual codes and the production of knowledge: How do we remember things? In which way do images influence our conception of reality? How do we know what it is that we see? How is form and content related and how is this relationship subject to change?
Usually I take a conceptual approach to the medium of photography. The images are studio based set-ups, made for the sole purpose of being photographed, for which I only use analogue equipment like medium or large format cameras. The title of each work has major importance as it determines the reading of the piece. I would like the viewer to become aware of himself/herself as spectator, ie: an individual with a subjective point of view.” – Lisa Jugert (2010)
[...] Lisa Jugert’s Two Photograms — Fading and Shadows (The Curious Feeling of Safety in Association with Past Times) mimic the form of a photogram, a basic type of photography that can be reproduced by the simplest of means. Even though they look like photograms — blotchy drips give away the spray-painted process — there is also something incredibly current about how these works reorganize the new/old and digital/analog divide. It’s the traces of the easy mechanical touch of paint, of shadows made by natural light, that corrupt and and deceive. The multiple layers of translation from physical objects to a sleek 2-D image give way to the digital doubt about what you’re actually seeing. [...]